Портрет актрисы Веры Васильевны Самойловой
в костюме амазонки.
середина 1840-х г.
Кувшин с "живописью цветов".
Императорский фарфоровый завод.
К. П. Брюллов.
Портрет аполлона Николаевича Мокрицкого.
Собрание Мориса Борюша, Париж.
Стол с бисерной вышивкой.
Л. Ф. фон Райски.
В. А. Тропинин.
Девушка с горшком роз.
Кошелек с композицией "Крестьянская пляска".
Россия, 1810-е гг.
И. А. Нечаев.
Частное собрание, Москва.
Dmitrii Sarab'ianov. A style without names and masterpieces.
The Academician analyses the Biedermeister style as a phenomenon of the
history of European art. In describing the origin of this style, the
source of its name and tracing its iconography, the author examines the
artistic challenges encountered by the traditional national schools of
Biedermeier in Germany and Austria, as well as the schools in
Scandinavia and Russia (the term "Biedermeier" was not used in relation
to Russian art for a long time). Sarab'ianov believes that Biedermeier
was a forerunner to realism: the most important features of Biedermeier
are love of objects and an interest in genre. He also notes that it
contains the influence of Hegelian ideas of a harmonious, ideal
Nataliia Tolstaia. Negligent Biedermeier.
The art historian and employee of the Tret'iakov Gallery, considers the
possibility of classifying the work of the "undefinable" Vasilii
Tropinin, a Russian portrait artist from the first half of the XIX
century, as Biedermeier. By highlighting the absence of objects and
Tropinin's particular attention to individuality in his portraits, the
author comes to the conclusion that there are elements of Biedermeier
in the artist's work, alongside elements of classicism, romanticism and
even critical realism.
Iuliia Volgina. Evgenii Pliushar: a short history of the life of an
in-vogue portrait painter.
This art historian and specialist at the Moscow museum dedicated to "Vasilii
Tropinin and Moscow artists who were his contemporaries" gives a
detailed description of the life of Evgenii Pliushar, an all but
forgotten Russian artist from the XIX century. Thanks to his portraits
we have an image of many famous people and also of figures from the
literary world and its circles in the middle of the last century -
Karol Lipinsky, Auguste Montferrand, Faddei Bulgarin, Pauline Viardot
and even the grandfather of the founder of the Tret'iakov Gallery, the
prominent businessman, Danila Borisov.
Anatolii Kantor. Quiet garden.
This article from the well-known art historian, critic and member of
the Association of Art Historians, looks at Scandinavian Biedermeier
and, chiefly, the work of the Danish artists Cristen Koebke,
Christoffer Wilhelm Eckersberg and others. The author traces within
their pictures the traditions of Dutch and Flemish masters at the end
of the XVII-XVIII centuries. Beyond the narrowness of the subjects and
themes, and the outward composure of Danish Biedermeier, Kantor detects
a feeling of the "goodness of being" which is free from accidental
detail and he considers the painting of this period to be one of the
brightest pages in the history of Danish art.
Evgeniia Gavrilova. The Empress' blotting pad: The forgotten
watercolours of Charlemagne, Greb, Shuetze and Montferrand.
Gavrilova's attention was attracted by a file of drawings which had
been held in store in the Russian Museum for 65 years. Gavrilova, a
specialist of the Museum, identified the album as having belonged
personally to the Russian Empress Alexandra (1798-1860). The album was
a gift from her son, Grand Duke Nikolai Pavlovich, the future Tsar
Nicholas I. Each leaf in the album is dedicated to a particular event
in the life of the Empress: her wedding, the births of her children,
the death of her father... Gavrilova also undertook a large amount of
work in identifying the authorship of the watercolours. It turned out
that they were painted not only by Auguste Montferran, but also by
three other different artists. These rare items are not only an example
of commissioned drawings in the Biedermeier era, but also a
biographical source and document giving character to the personality of
Raisa Kirsanova. Taste and fashion on the pages of "Girlianda".
"Girlianda" was a publication which existed between 1831-1832 and was
based, like many magazines before it, on the format of European
publications. However, this journal was very remarkable in the way it
divided fashions; it discussed problems of taste, where one could learn
not so much about fashion, but about another style of behaviour geared
towards simplicity, being natural and convenience. Kirsanova, a doctor
of art history and a specialist at the State Institute of Art History,
is not simply drawing the reader's attention to this all-but-forgotten
journal. She believes that this publication expressed the first
assertion in Russia that wealth and taste were not one and the same
thing, and that "Girlianda" generally helped to create a much more
serious approach to fashion in our country.
Irina Efremova. The golden age of wallpaper.
Efremova holds a Master's degree in the history of art and is a senior
specialist with the State Historical Museum. Here, she examines the
history of the origins and use of wallpaper in Russia. Having first
appeared in Europe in the XV century, wallpaper filtered through to
Russia in the beginning of the XVIII century. The author refers to two
periods of fashion concerning wallpaper and other forms of decorative
the end of the VXIII century and the 1820s-1830s. The article is
illustrated with photographs of the unique interiors of Ostankino
Palace (1792-1798), which still contain wallpapers in their original
Svetlana Deviatova. "As we can see, existence is like smoking a pipe..."
The specialist from the Moscow "Ostankino" Museum describes the history
of Russia's relation to tobacco over the course of the XVIII and XIX
centuries, and traces the changes in fashion of objects connected with
its use - namely, snuff boxes, pipes, hookahs and tobacco pouches. The
article is illustrated with reproductions of items from the stores of
the "Ostankino" Museum, which have never before been published.
Nataliia Guseva. Russian furniture in the
The article is dedicated to a peculiar phenomenon in Russian decorative
art - "Jacob style" furniture. The author holds a Master's degree in
art history, is a senior specialist at the State Hermitage Museum and a
curator of the Furniture Fund. Following a short review of the
bibliographical sources related to this subject, Guseva explains that
the "Jacob style" was unusually popular over the course of the XIX
century due to its similarity in style with XVIII century Russian
furniture. The article also contains several recommendations on how to
distinguish earlier items from those made almost a hundred years later.
Elena Dolgikh. Biedermeier in Russian glass-making.
Elena Dolgikh is a specialist and deputy director of research at the
Museum of Decorative and Applied Arts. Here she examines the specific
features of Russian glass artwork in the Biedermeier style from the
Mal'tsev’s and Orlov’s factories, and the Bakhmetev’s glassworks. The
author believes that the unique nature of Russian glass in the second
quarter of the XIX century stems from a combination of the Biedermeier
style with a classicism in form and decoration.
Marianna Bubchikova. China from the era of Nicholas I.
Marianna Bubchikova is a senior specialist with the Department of
Ceramics and Glass at the State Historical Museum. The article is about
the everyday role of china in the times of Nicholas I - "painted china".
The list of subjects depicted on china is unusually long - there were
even copies of pictures from the Hermitage and graphic prints. However,
the preference for certain themes and changes in taste for items of
china were secondary to the fact that china remained a symbol of family
prosperity over the first half of the XIX century.
Ekaterina Pavlova. "He sits in his dressing gown in front of the fire
leaning on his elbows".
The author holds a Master's degree in art history and is head of the
fine art stores at the State Pushkin Museum. Pavlova attributes a
portrait of Aleksei Davydov (1809) to the famous Russian artist and
romanticist, Orest Kiprenskogoiz. The painting is held in the Museum's
collection. The author stresses the role of the "informal" portrait - a
portrayal of someone in an intimate setting, often in household attire.
In a certain sense, the dressing-gown became a symbol of a free,
creative individual in 19th century Russian painting.
Biedermeier in private collections.
"Pinakotheke" presents the best and most typical works of art usually
connected with the Biedermeier period: watercolours for the chamber and
miniature portraits; urban landscapes; embroidery; china from private
factories; coloured glass and rare examples of genre painting from the
years 1815-1850 belonging to private Russian collections.
Photographs of the most interesting pieces to be found on the Moscow
and St. Petersburg antique markets (winter - spring 1998)
Embroidery within Russian Biedermeier
The author is a member of the International Art Foundation, holder of a
Master's degree in physics and mathematics, and author of Ancient
Russian Works from Glass Beads. Having studied the literary sources and
surviving historical items, Iurova makes the conclusion that embroidery
must have flourished in Russia between 1810 and the 1840s. The article
is illustrated with reproductions of works from private collections,
most of which are being published for the first time.
Elena Iurova. A table with glass-bead embroidery.
Thee author has succeeded in recreating a detailed history of a unique
historical work of glass-bead embroidery - a table embroidered with a
circle of glass beads. This table, embroidered for Princess Sof'ia
Zasekinaia at the end of the 1820s, is considered to be not only an
outstanding testimony to its era, but also a model article by which the
attribution of other similar items are evaluated.
A review of art exhibitions at the end of 1997
A review of art publications during 1997
A review of the most interesting commercial events and sales on
Russian and foreign antiques markets, including the Moscow art fair
"Art - Moskva" and the IV Antique Salon at the Central Home of the
Artist in spring 1998.
Announcements of art fairs, art auctions and
exhibitions in Russian and abroad.
Olga Postnikova. Vienna: "...this century and last century".
Olga Postnikova, art historian and employee of Vienna University gives
a detailed description of the old architectural monuments and museums
of Austria's capital.
Sof'ia Pokrovskaia & A. Rondo. The comfortable XX century.
The authors share with the reader their impressions gained on a short
visit to Vienna.
The Criminal Chronicles
The first Federal Loss Register of Valuable Cultural Objects in Russia
has to operate without information from the Interior Ministry.
Skvortsova is a journalist and columnist for Obshchaia gazeta. In this
article, she informs us about the creation of the Russian Federal
Register, into which all works of art stolen from museums and private
collections will be entered. She also focuses on the difficulties
involved in the exchange of information between various bureaucratic